Blockhouses has recorded basic tracks to 16 new songs at Kawari Sound in Philadelphia, and will complete vocals and mixing at Westmont Station, with Pete Donnelly (The Figgs, NRBQ, Soul Asylum, Shelby Lynne) at the controls.
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Chris' sound design for Lynn Nottage's "Intimate Apparel" is on stage at Shakespeare & Company, in Lenox, Massachusetts, through August 13.
New Orleans’ The Luxurious Faux Furs have laid down some serious mojo to tape at Garageland, got dunked in our rockin’ reverb tank, and released three vinyl records: Two 45rpm 7-inchers on Hexbeat, and their smokin’ LP, “Let Me Ride” on Beast Records, France (2014). Our work together also appears on Beast Records’ Sampler, Volume 2: “Only the Best”.
The studio is in post-production with Lex Loser, on their sweaty “What Rough Beast” EP, which we live-tracked in Brooklyn.
Congrats to Josh Diamond & The Brooklyn Soul, whose music was produced at Garageland (Chris played bass and organ), and subsequently placed in an episode of “Happy Endings” (ABC)!
Clients have included Another Saturday Night: vinyl LP on Slow Gold Zebra; The Brought Low: demo, in anticipation of their “Third Record” on Small Stone; Tony Award winner, John Gallagher, Jr., who laid down tracks in our first (downtown) studio; New York Botanical Gardens, for which we produced their self-guided audio tour app; NYC House Concerts, showcasing some of NYC’s top classical soloists and ensembles.
Gorgeous Machines is our music licensing arm, music and soundscape for film, t.v. and commercial.
Christopher was songwriter, music director, sound designer and musician for “Dark Hollow”, at Theatre 80, as part of the New York International Fringe Festival.
Sound Design this season takes Chris to Borough of Manhattan Community College, George Street Playhouse, Philadelphia Theatre Company, and Westport Playhouse. Special thanks to Liz Chaney and Scott Killian.
Chris has appeared on camera, playing guitar, in the Amazon Studios series “Mozart in the Jungle”, directed by Jason Schwartzman.
Patrick Kauffman kept the tubes glowing, and Richie Baxt kept the axes sharp.